Who we are

We are in via della Vena, a Zandobbio, in provincia di Bergamo

Marmo Zandobbio currently owns th only quarry used to extract this exclusive marble, a crystalline rock with peculiar aesthetic features, known as Zandobbio and extracted from the eastern foothills of the procince of Bergamo. As quarry operations resumed, the new management shook up the company; although the quarry extends over a small area, a flexible organisation combined with a highly qualified staff have enabled the company to meet diverse market needs in Italy and worldwide.

Historical information

A thousand years old, but doesn’t look it: a thousand years in fine form

Our marble has been well known since antiquity. Epigraphs, altars and tables found at archaeological sites testify to the fact that it has been quarried and used since at least the 1st century AD.
Zandobbio marble was used for the large stones of the walls of Romanesque churches, such as the parish of San Giorgio in Campis in Zandobbio (10th–11th century) and, above all, some of Bergamo’s symbolic monuments: Porta San Giacomo, the Angelo Mai Library and the famous Contarini Fountain, which is the focus of Piazza Vecchia and, in a certain way, the entire city.

Its use in architectural details and monumental works continued until the early 20th century. Subsequently dolomite came to be exploited for a different but profitable use: as a granulate for the glass industry and an aggregate for the production of concrete.

The quarrying of cut blocks became a viable production once more when the historic Vescovi quarry was reopened near the centre of Zandobbio in 2004. And so this precious ornamental material is being used once more for urban furnishings (benches, fountains and columns), slabs for exterior and interior cladding (bathrooms, stairs and floors), and the restoration of churches and historical buildings. In February 2008, in Via XX Settembre in the heart of the Lower City, officials inaugurated the two Prato columns in pink Zandobbio marble where the ancient columns delimiting the area of the Fiera di Sant’Alessandro, which were removed in 1882, once stood. They are the symbol of a fundamental stoneworking tradition.


A long history in a large area.

What follows is a short chronological summary.

  • 1st century AD – The Roman tombs, altars and epigraphs found in the archaeological excavations of Trescore (Località Canton), Borgo di Terzo, Casazza, and in Bergamo’s Upper and Lower Town.
  • 4th–7th century – The column of Sant’Alessandro in Colonna in the Lower City and the column of San Lorenzo in the Upper City.
  • 10th–11th century – The Romanesque church of San Giorgio in Campis at Zandobbio, built in large masonry blocks.
  • 12th century – The capitals and tablets for the Rotonda di San Tomè ad Almenno San Bartolomeo.
  • 14th century – The steps and checkerboard paving of the entrance with the red lions at the basilica of Santa Maria Maggiore in the Upper City and the base of the prothyrum of the white lions, both of which by Giovanni da Campione.
  • 15th century –The floors, steps and outlines of the central rose window of the façade of the Colleoni Chapel by Antonio Amadeo.
  • 16th century – The balustrade and three-light windows of the Palazzo della Ragione, the portal and the prothyrum of the fountain of the basilica of Santa Maria Maggiore, by Pietro Isabello; the façade of Porta San Giacomo on the Venetian walls, with a high relief of the Lion of St Mark by the Bergamo artist Piero Brolis dated 1958; the fountains of San Pancrazio (1549) in Via Gombito and Sant’Agostino.
  • 16th century – The portico of Casa Camozzi at Vertova (16th century), the structural elements (plinths and cornices) of the façade of Palazzo Medolago-Albani (18th century), the staircase and outside portals of Villa Terzi al Canton (18th century), the pillars of Villa Mosconi at Trescore.
  • 16th century – The façades of the churches of San Marco and Sant’Alessandro in the Lower City, of San Michele all’Arco in the Upper City, and of the parish churches of Gorlago, San Paolo D’Argon, Trescore Balneario, Selva di Zandobbio and Zandobbio.
  • 17th century – The right portal of the cathedral, the internal flooring and the railings of the side chapels; the column of Our Lady of Sorrows in Borgo Santa Caterina, Lower City.
  • 18th century – The well of Piazza Mascheroni, the sundial under the porticos of Palazzo Vecchio by the abbot Giovanni Alberici, the Fountain of the Dolphin in Via Pignolo and the Contarini Fountain in Piazza Vecchia.
  • 19th century – The staircase and balustrade of the University of Bergamo, the washing troughs in Via Lupo in the Upper City and the Municipal Office Building in the Lower City.
  • 20th century – The Palazzo del Credito Bergamasco with the fountain in front of it, known as the “bonbonnière”, by Leone Lodi; the portico of the Palazzo della Banca Popolare di Bergamo; the clock, the niche and the large window of the Torre ai Caduti; the decorative elements of the Sentierone and the Palazzo delle Poste e delle Assicurazioni, designed by Marcello Piacentini and Giovanni Muzio; the façade of the Palazzo Nuovo in Piazza Vecchia, built by Ernesto Pirovano to plans by Scamozzi, with six statues by Tobia Vescovi (Agriculture and Craftsmanship, Commerce and Industry, and the Serio and Brembo rivers); the monument by Attilio Pizzigoni dedicated to the Calvi Brothers in Piazza Matteotti; the fountain dedicated to Antonio Locatelli in Viale Vittorio Emanuele II. The former Casa Littoria and the houses lining Piazza della Libertà (Lower City) designed by Alziro Bergonzo (1936–40)
  • 20th century – The war memorials completed in numerous towns around Bergamo by the sculptor Tobia Vescovi.
  • 21st century – The Porte di Prato in Via XX Settembre in the Lower City; the monument Fukinagashi – Mosso dal Vento by Francesco Pedrini.

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